Choir, Organ Accompaniment (SATB Choir) SKU: HL.48021285 From Saint Ni...(+)
Choir, Organ
Accompaniment (SATB
Choir)
SKU:
HL.48021285
From
Saint Nicolas SATB and
Organ. Composed by
Benjamin Britten. Boosey
& Hawkes Sacred Choral.
Classical. Octavo. 8
pages. Boosey & Hawkes
#M051482504. Published by
Boosey & Hawkes
(HL.48021285).
ISBN
9781458471598. UPC:
884088658458. 6.75x10.5
inches.
Text: Eric
Crozier
Publisher:
Boosey &
Hawkes
Difficulty
level: 3
Saint
Nicolas (note the name
has no 'H' in it!) was
written for the centenary
of Lancing College in
Sussex, the independent
secondary boarding school
on the south coast of
England which Peter Pears
had attended in his
teens. It has a vast
chapel intended by its
founder, Revd Nathaniel
Woodard, as the cathedral
for all the schools of
his extensive foundation
known collectively as
'Woodard' schools. St.
Nicolas is famous for
many legendary miracles
and for being the
original 'Santa Claus'.
Crozier's libretto is
designed to tell the
story of his life, to
recount some of his most
celebrated acts and to
give the
audience/congregation the
opportunity of joining in
two beautiful hymns at
key moments: 'All people
that on earth do dwell'
and 'God moves in a
mysterious way his
wonders to perform'. The
narration is all done by
the choir, though the
tenor sings first-person
narratives as well in his
role as the mature
Nicolas. The young
Nicolas is sung by a boy
in movement II. There is
a dramatic moment at the
end of this movement when
the boy's voice does a
tumble and the tenor
proclaims in the voice of
Nicolas as a young man:
'God be
glorified'.
The
third movement is an
accompanied recitative in
which the soloist sings
of Nicolas devoting
himself to God through
the agonies and torment
of the many distractions
and temptations of life.
His faith wins through
and he sings a final
touching phrase: 'and
Love was satisfied'. The
sea whips up a storm in
the next movement: 'He
journeys to Palestine'.
It threatens to overturn
the ship and drown
everyone on board. There
is wailing from the
sopranos and altos of the
semi-chorus and agonised
calls from the tenors and
basses to 'man the
pumps'. Finally, Nicolas
begs God to let the storm
cease and offers thanks
for their safe delivery.
Britten creates a
palpable sense of relief
in the final
pages.
In the
fifth movement, 'Nicolas
comes to Myra and is
chosen Bishop', the choir
sings chorale-like
phrases welcoming him as
their new Bishop. They go
through his ceremonial
dressing with all the
accoutrements of his
office, the mitre,
crozier (nice pun on the
librettist's name), robe
and ring. An energetic
chorus 'Serve the faith
and spurn his enemies'
leads to the first great
hymn - a wonderfully
climactic moment.
Britten's arrangement is
suitably
uplifting.
The
final movement tells of
Nicolas' death and the
work ends with the other
great hymn: 'God moves in
a mysterious way'.
This work
demonstrates to me
Britten's generosity of
spirit and his natural
feeling for enriching the
repertoire at all levels
of attainment. What a
gift!
O Antiphons Chorale SATB [Octavo] CanticaNOVA Publications
Composed by Stephen McManus. For SATB choir, a cappella. Text: Liturgy of the Ho...(+)
Composed by Stephen
McManus. For SATB choir,
a cappella. Text: Liturgy
of the Hours. Brief
settings of the seven
Magnificat antiphons for
the last days of Advent.
Advent. Octavo. Published
by CanticaNOVA
Publications
Choral TBB choir, piano SKU: CF.CM9594 Composed by Greg Gilpin. Fold. Per...(+)
Choral TBB choir, piano
SKU: CF.CM9594
Composed by Greg Gilpin.
Fold. Performance Score.
8 pages. Duration 2
minutes, 50 seconds. Carl
Fischer Music #CM9594.
Published by Carl Fischer
Music (CF.CM9594).
ISBN 9781491154168.
UPC: 680160912667. 6.875
x 10.5 inches. Key: Bb
major. English. Alfred
Tennyson. Alfred, Lord
Tennyson
(1809-1892).
The
text of Alfred, Lord
Tennyson's There is
Sweet Music Here is
a wonderful example of
word painting. Keep this
in mind while learning to
sing the music and try to
capture the different
scenes created through
these famous words. The
first two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 710, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 1417
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
2225, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 3336. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 3738
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord Tennyson'sA
There is Sweet Music
HereA is a wonderful
example of word painting.
Keep this in mind while
learning to sing the
music and try to capture
the different scenes
created through these
famous words. The first
two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 7a10, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 14a17
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
22a25, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 33a36. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 37a38
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord Tennyson'sA
There is Sweet Music
HereA is a wonderful
example of word painting.
Keep this in mind while
learning to sing the
music and try to capture
the different scenes
created through these
famous words. The first
two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 7a10, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 14a17
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
22a25, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 33a36. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 37a38
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord Tennyson's
There is Sweet Music
Here is a wonderful
example of word painting.
Keep this in mind while
learning to sing the
music and try to capture
the different scenes
created through these
famous words. The first
two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 7-10, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 14-17
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
22-25, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 33-36. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 37-38
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord Tennyson's
There is Sweet Music Here
is a wonderful example of
word painting. Keep this
in mind while learning to
sing the music and try to
capture the different
scenes created through
these famous words. The
first two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm. 7-10, the
vocals cascade gently
into a dissonance that
develops into a full,
rich sound. Allow the
piano to support the
unison lines in mm. 14-17
as well as those that
contain three-part
singing. The piano
establishes a consistent
undulating tempo in mm.
22-25, as if lulling
someone to sleep. Be
intentional with
word/syllabic stress when
singing through the
quarter notes. Maintain a
consistent tempo when
singing the eighth notes
in mm. 33-36. The chord
progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm. 37-38
reflecting the craggy
ledge and hanging poppy
followed by the unison
sleep which ushers in the
return of the original
melody within the
accompaniment. Linger
with quiet, full and
supported singing during
the last three
measures. The text of
Alfred, Lord
Tennyson's There is
Sweet Music Here is a
wonderful example of word
painting. Keep this in
mind while learning to
sing the music and try to
capture the different
scenes created through
these famous words.The
first two measures of
accompaniment outline the
opening chord in the
voices. Crescendo to the
word music every time it
occurs. In mm.
7–10, the vocals
cascade gently into a
dissonance that develops
into a full, rich sound.
Allow the piano to
support the unison lines
in mm. 14–17 as
well as those that
contain three-part
singing.The piano
establishes a consistent
undulating tempo in mm.
22–25, as if
lulling someone to sleep.
Be intentional with
word/syllabic stress when
singing through the
quarter notes.Maintain a
consistent tempo when
singing the eighth notes
in mm. 33–36. The
chord progression helps
establish the coolness of
the mosses and ivies.
Notice the melodic
movement in mm.
37–38 reflecting
the craggy ledge and
hanging poppy followed by
the unison sleep which
ushers in the return of
the original melody
within the
accompaniment.Linger with
quiet, full and supported
singing during the last
three measures.
For Boy's Voices and Organ. By Benjamin Britten. (Vocal Score). Boosey and Hawk...(+)
For Boy's Voices and
Organ. By Benjamin
Britten. (Vocal Score).
Boosey and Hawkes Large
Choral. Size 9x12 inches.
14 pages. Published by
Boosey and Hawkes.
Arrangement for wind quintet. Composed by Antonin Dvorak (1841-1904). Arr...(+)
Arrangement for wind
quintet. Composed by
Antonin Dvorak
(1841-1904). Arranged by
Joachim Linckelmann. This
edition: Paperbound.
Latin Masses. Full score.
72 pages. Duration 43
minutes. Published by
Carus Verlag
(CA.4065350).
Schopfungsmesse.
Composed by Franz Joseph
Haydn. Edited by Armin
Kircher. Arranged by
Luigi Gatti. Sacred music
from Salzburg. Violin 1.
Sacred vocal music,
Masses, Latin. Single
Part, Violin 1. 20 pages.
Duration 35 minutes.
Carus Verlag #CV
27.053/11. Published by
Carus Verlag
(CA.2705311).
ISBN
9790007199562. Key: A
major. Language:
Latin.
Since the
days of Renaissance
composers - beyond
accusations of plagiarism
- the admiration for a
fellow composer has taken
the form of quotations
from his works or even
new versions of his
works. No less a work
from the classical period
than Joseph Haydn's
oratorio The Creation
(first performed in
1798), was the basis for
the Schopfungsmesse
(Creation Mass) by the
Salzburg Court and
Cathedral Music Director,
Luigi Gatti. Gatti heard
the oratorio in Salzburg
performances conducted by
Johann Michael Haydn in
1800. With great skill
and sensitivity Gatti was
able to underlay the
choruses and arias of The
Creation with the text of
the Mass (at times he
reduced and adapted the
instrumentation), without
doing harm to the admired
original. Score and part
available separately -
see item CA.2705300.
Schopfungsmesse.
Composed by Franz Joseph
Haydn. Edited by Armin
Kircher. Arranged by
Luigi Gatti. Sacred music
from Salzburg. Violin 2.
Sacred vocal music,
Masses, Latin. Single
Part, Violin 2. 20 pages.
Duration 35 minutes.
Carus Verlag #CV
27.053/12. Published by
Carus Verlag
(CA.2705312).
ISBN
9790007199579. Key: A
major. Language:
Latin.
Since the
days of Renaissance
composers - beyond
accusations of plagiarism
- the admiration for a
fellow composer has taken
the form of quotations
from his works or even
new versions of his
works. No less a work
from the classical period
than Joseph Haydn's
oratorio The Creation
(first performed in
1798), was the basis for
the Schopfungsmesse
(Creation Mass) by the
Salzburg Court and
Cathedral Music Director,
Luigi Gatti. Gatti heard
the oratorio in Salzburg
performances conducted by
Johann Michael Haydn in
1800. With great skill
and sensitivity Gatti was
able to underlay the
choruses and arias of The
Creation with the text of
the Mass (at times he
reduced and adapted the
instrumentation), without
doing harm to the admired
original. Score and part
available separately -
see item CA.2705300.
Composed by Franz
Schubert. Edited by
Salome Reiser. This
edition: urtext.
Stuttgart Urtext Edition:
Stuttgart Schubert
Edition. Viola.
Innovative practice aids,
Sacred vocal music,
Magnificats, Advent,
Christmas, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary, Daily hours.
Single Part, Viola.
Composed 1815. D 486. 4
pages. Duration 9
minutes. Carus Verlag #CV
70.053/13. Published by
Carus Verlag
(CA.7005313).
ISBN
9790007228309. Key: D
major. Language:
Latin.
With a
duration of about 10
minutes, Schubert's
Magnificat D 486 in C
major is one of the more
concise settings of the
well-known Marian
canticles, originally for
the service of Vespers.
It was composed in late
summer 1815, and is
therefore probably one of
a series of church music
works Schubert wrote in
his youth for Lichtenthal
Parish Church. The work
requires a large-scale
orchestra with strings,
woodwind, and brass. The
four-part choir contrasts
with four soloists; this
quartet sings the
peaceful middle section
of the three-section
work. For the Carus
edition Schubert's own
autograph manuscript of
his Magnificat was
consulted again for the
first time since 1888.
Until 1989 this had been
thought to be lost. This
work is now available in
carus music, the choir
app! Score and part
available separately -
see item CA.7005300.
Paint Me Chorale 3 parties SSA, Piano Carl Fischer
Choral SSA choir, piano SKU: CF.CM9585 Composed by Debra Morton. Fold. Pe...(+)
Choral SSA choir, piano
SKU: CF.CM9585
Composed by Debra Morton.
Fold. Performance Score.
12 pages. Duration 2
minutes, 59 seconds. Carl
Fischer Music #CM9585.
Published by Carl Fischer
Music (CF.CM9585).
ISBN 9781491154076.
UPC: 680160912575. 6.875
x 10.5 inches. Key: G
major. English.
Original.
Good
friends see the best in
us. They tend to downplay
our faults while
applauding our strengths.
In short, they encourage
us to be the best we can
be, maybe even a little
more. The text of
Paint Me was
born out of the desire to
be that person my best
friend thinks I am. To
Mary Jo, my sister and
best friend. May I really
be that person you see
and love. In setting the
text of Paint Me
to music, I tried to let
the cadence of the words
dictate the rhythm of the
music. Use rubato, word
stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so dont
be afraid to let the
interior part of a phrase
move along, while
relaxing the beginning
and ending. I would
recommend a straight tone
as opposed to vibrato for
the held notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
paint the words, as well
as making every idea
understood. Enjoy adding
the color and shading to
make this piece of art
your own. Good friends
see the best in us. They
tend to downplay our
faults while applauding
our strengths. In short,
they encourage us to be
the best we can be, maybe
even a little more. The
text of Paint
MeA was born out of
the desire to be that
person my best friend
thinks I am. To Mary Jo,
my sister and best
friend. May I really be
that person you see and
love. In setting the text
of Paint Me to
music, I tried to let the
cadence of the words
dictate the rhythm of the
music. Use rubato, word
stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so donat
be afraid to let the
interior part of a phrase
move along, while
relaxing the beginning
and ending. I would
recommend a straight tone
as opposed to vibrato for
the held notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
apainta the words, as
well as making every idea
understood. Enjoy adding
the color and shading to
make this piece of art
your own. Good friends
see the best in us. They
tend to downplay our
faults while applauding
our strengths. In short,
they encourage us to be
the best we can be, maybe
even a little more. The
text of Paint Me
was born out of the
desire to be that person
my best friend thinks I
am. To Mary Jo, my sister
and best friend. May I
really be that person you
see and love. In setting
the text of Paint
Me to music, I tried
to let the cadence of the
words dictate the rhythm
of the music. Use rubato,
word stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so don't
be afraid to let the
interior part of a phrase
move along, while
relaxing the beginning
and ending. I would
recommend a straight tone
as opposed to vibrato for
the held notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
paint the words, as well
as making every idea
understood. Enjoy adding
the color and shading to
make this piece of art
your own. Good friends
see the best in us. They
tend to downplay our
faults while applauding
our strengths. In short,
they encourage us to be
the best we can be, maybe
even a little more. The
text of Paint Me was born
out of the desire to be
that person my best
friend thinks I am. To
Mary Jo, my sister and
best friend. May I really
be that person you see
and love. In setting the
text of Paint Me to
music, I tried to let the
cadence of the words
dictate the rhythm of the
music. Use rubato, word
stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so don't
be afraid to let the
interior part of a phrase
move along, while
relaxing the beginning
and ending. I would
recommend a straight tone
as opposed to vibrato for
the held notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
paint the words, as well
as making every idea
understood. Enjoy adding
the color and shading to
make this piece of art
your own. Good friends
see the best in us. They
tend to downplay our
faults while applauding
our strengths. In short,
they encourage us to be
the best we can be, maybe
even a little more. The
text of Paint Me was
born out of the desire to
be that person my best
friend thinks I am.To
Mary Jo, my sister and
best friend. May I really
be that person you see
and love.In setting the
text of Paint Me to
music, I tried to let the
cadence of the words
dictate the rhythm of the
music. Use rubato, word
stress and syllabic
stress to enhance this.
Remember, no two eighth
notes are alike, so
don’t be afraid to
let the interior part of
a phrase move along,
while relaxing the
beginning and ending. I
would recommend a
straight tone as opposed
to vibrato for the held
notes, since the
accompaniment plays
around with other
harmonies while choral
chords are being held.
Diction is so important
in this song. You have a
great opportunity to
“paint†the
words, as well as making
every idea
understood.Enjoy adding
the color and shading to
make this piece of art
your own.
Reproducible hymns for unison voices and 3 octaves handbells or handchimes(+)
Reproducible hymns for
unison voices and 3
octaves handbells or
handchimes. Arranged
by Karen Lakey
Buckwalter. Christmas;
Palm Sunday; Easter;
Lent; General.
Reproducible handbell
collection. Published by
Chorister's Guild
(LO.CGB969).
Choral TBB choir, piano accompaniment SKU: CF.CM9590 Composed by Philip E...(+)
Choral TBB choir, piano
accompaniment
SKU:
CF.CM9590
Composed by
Philip E. Silvey. Sws.
OCTAVO. 16 pages.
Duration 3 minutes, 38
seconds. Carl Fischer
Music #CM9590. Published
by Carl Fischer Music
(CF.CM9590).
ISBN
9781491154120. UPC:
680160912629. 6.875 x
10.5 inches. Key: F
major. English. Philip E.
Silvey.
Original.
Early one
spring a robin nested in
the bend of the downspout
under my neighbors roof.
Through an upstairs
window, I could easily
observe her feeding the
newly hatched birds. A
couple weeks passed
before I spotted one of
the babies perched on the
edge of the nest. To my
surprise, I witnessed it
suddenly take flight for
the first time, with a
rustle of wings and a
rocky descent to the
ground. Feeling worried,
I hurried outside to see
what would happen. Part
of me wanted its mother
to come to the rescue,
but deep down I knew this
tiny creature would have
to fend for itself. I
wrote this composition
for those who face such
seminal moments as they
muster the courage to
leap from one stage of
life into the
next. Early one spring
a robin nested in the
bend of the downspout
under my neighboras roof.
Through an upstairs
window, I could easily
observe her feeding the
newly hatched birds. A
couple weeks passed
before I spotted one of
the babies perched on the
edge of the nest. To my
surprise, I witnessed it
suddenly take flight for
the first time, with a
rustle of wings and a
rocky descent to the
ground. Feeling worried,
I hurried outside to see
what would happen. Part
of me wanted its mother
to come to the rescue,
but deep down I knew this
tiny creature would have
to fend for itself. I
wrote this composition
for those who face such
seminal moments as they
muster the courage to
leap from one stage of
life into the
next. Early one spring
a robin nested in the
bend of the downspout
under my neighbor's roof.
Through an upstairs
window, I could easily
observe her feeding the
newly hatched birds. A
couple weeks passed
before I spotted one of
the babies perched on the
edge of the nest. To my
surprise, I witnessed it
suddenly take flight for
the first time, with a
rustle of wings and a
rocky descent to the
ground. Feeling worried,
I hurried outside to see
what would happen. Part
of me wanted its mother
to come to the rescue,
but deep down I knew this
tiny creature would have
to fend for itself. I
wrote this composition
for those who face such
seminal moments as they
muster the courage to
leap from one stage of
life into the
next. Early one spring
a robin nested in the
bend of the downspout
under my
neighbor’s roof.
Through an upstairs
window, I could easily
observe her feeding the
newly hatched birds. A
couple weeks passed
before I spotted one of
the babies perched on the
edge of the nest. To my
surprise, I witnessed it
suddenly take flight for
the first time, with a
rustle of wings and a
rocky descent to the
ground. Feeling worried,
I hurried outside to see
what would happen. Part
of me wanted its mother
to come to the rescue,
but deep down I knew this
tiny creature would have
to fend for itself. I
wrote this composition
for those who face such
seminal moments as they
muster the courage to
leap from one stage of
life into the next.
(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, B...(+)
(Soli SATB, Coro SATB, 2
Corni di bassetto, 2 Fg,
2 Tr, 3 Trb, Timp, 2 Vl,
Va, Bc)
SKU:
CA.5165205
Completed and edited
by Howard Arman.
Composed by Wolfgang
Amadeus Mozart. Edited by
Howard Arman. Arranged by
Howard Arman. Choral
Score. KV 626. Duration
50 minutes. Carus Verlag
#5165205. Published by
Carus Verlag
(CA.5165205).
ISBN
9790007314286. Key: D
minor. Latin.
The
English conductor and
composer Howard Arman has
presented us with a
completed version of
Mozartâs Requiem.
âAnother one?â
you might ask, since this
publication is only the
latest in a long line
reaching back to the
traditional SüÃmayr
version. Yet such is the
enormous power of
Mozartâs score that
the challenge and appeal
of completing it remain
undiminished. After two
decades of intensive
study, Howard
Armanâs additions to
Mozartâs great
original show the
requisite care and
respect while
incorporating many new
insights.
Armanâ
s approach is
particularly fruitful.
Always aware of the
appropriate limits to
such re-creative work, he
orients himself towards
the typical
characteristics of
Mozartâs brilliant
composing style: The
masterly compositional
technique, the search for
innovative solutions to
every problem, and even
the terse treatment of
the text with extremely
suggestive harmonies. All
of this leads to a number
of new listening
experiences. In the Tuba
mirum, for example, we
enjoy a warm, cohesive
ensemble sound, supported
by the bassoons, which
depart from the bass
line. The Confutatis
presents a quite
different picture: Even
the basset horns are
drawn down into the
infernal depths. This
effect is reinforced by
the independence of the
trombones; rather than
simply following the
choral parts, the
instrumentâs unique
sound is given an
opportunity to shine.
Armanâs Lacrimosa
achieves a lively
Mozartian feel by
granting the voices
considerable freedom
rather than following a
rigid pattern. And he
concludes the movement
with a fugal Amen,
whereby the focus is not
so much on the
counterpoint itself, but
rather â in the
spirit of Mozart â
on creating a sense of
drama and illuminating
the theme in all its
possible facets.
Mozartâs fragment
ends with the Hostias,
and so does Armanâs
completion.
For
the four following
movements (Sanctus to
Communio) we have nothing
from Mozart, and so here,
where the master is
silent, Arman finally
returns to SüÃmayr,
the man who was closest
to Mozart at the time of
his death and whose
efforts to fill the blank
manuscripts still garner
our respect
today.
Armanâ
s version has already
proven its practical
value. The premiere with
the Bavarian Radio Choir
was enthusiastically
received by audiences and
press alike â and
celebrated as offering a
scholarly, entirely fresh
perspective on
Mozartâs
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press.
Requiem (Arman-Fassung) Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre Carus Verlag
(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, B...(+)
(Soli SATB, Coro SATB, 2
Corni di bassetto, 2 Fg,
2 Tr, 3 Trb, Timp, 2 Vl,
Va, Bc)
SKU:
CA.5165219
Completed and edited
by Howard Arman.
Composed by Wolfgang
Amadeus Mozart. Edited by
Howard Arman. Arranged by
Howard Arman. Set of
Orchestra Parts. KV 626.
Duration 50 minutes.
Carus Verlag #5165219.
Published by Carus Verlag
(CA.5165219).
ISBN
9790007313883. Key: D
minor. Latin.
The
English conductor and
composer Howard Arman has
presented us with a
completed version of
Mozartâs Requiem.
âAnother one?â
you might ask, since this
publication is only the
latest in a long line
reaching back to the
traditional SüÃmayr
version. Yet such is the
enormous power of
Mozartâs score that
the challenge and appeal
of completing it remain
undiminished. After two
decades of intensive
study, Howard
Armanâs additions to
Mozartâs great
original show the
requisite care and
respect while
incorporating many new
insights.
Armanâ
s approach is
particularly fruitful.
Always aware of the
appropriate limits to
such re-creative work, he
orients himself towards
the typical
characteristics of
Mozartâs brilliant
composing style: The
masterly compositional
technique, the search for
innovative solutions to
every problem, and even
the terse treatment of
the text with extremely
suggestive harmonies. All
of this leads to a number
of new listening
experiences. In the Tuba
mirum, for example, we
enjoy a warm, cohesive
ensemble sound, supported
by the bassoons, which
depart from the bass
line. The Confutatis
presents a quite
different picture: Even
the basset horns are
drawn down into the
infernal depths. This
effect is reinforced by
the independence of the
trombones; rather than
simply following the
choral parts, the
instrumentâs unique
sound is given an
opportunity to shine.
Armanâs Lacrimosa
achieves a lively
Mozartian feel by
granting the voices
considerable freedom
rather than following a
rigid pattern. And he
concludes the movement
with a fugal Amen,
whereby the focus is not
so much on the
counterpoint itself, but
rather â in the
spirit of Mozart â
on creating a sense of
drama and illuminating
the theme in all its
possible facets.
Mozartâs fragment
ends with the Hostias,
and so does Armanâs
completion.
For
the four following
movements (Sanctus to
Communio) we have nothing
from Mozart, and so here,
where the master is
silent, Arman finally
returns to SüÃmayr,
the man who was closest
to Mozart at the time of
his death and whose
efforts to fill the blank
manuscripts still garner
our respect
today.
Armanâ
s version has already
proven its practical
value. The premiere with
the Bavarian Radio Choir
was enthusiastically
received by audiences and
press alike â and
celebrated as offering a
scholarly, entirely fresh
perspective on
Mozartâs
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press.
Requiem Soli, choeur mixte et accompagnement Soli, chœur mixte et piano [Vocal Score] Carus Verlag
Solo voices, SATB chorus, orchestra (2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Tim...(+)
Solo voices, SATB chorus,
orchestra (2 Corni di
bassetto, 2 Fg, 2 Tr, 3
Trb, Timp, 2 Vl, Va, Bc)
SKU: CA.5165203
Completed and edited
by Howard Arman.
Composed by Wolfgang
Amadeus Mozart. Edited by
Howard Arman. Arranged by
Howard Arman. Vocal
score. KV 626. Duration
50 minutes. Carus Verlag
#5165203. Published by
Carus Verlag
(CA.5165203).
ISBN
9790007294243. Key: D
minor. Latin.
The
English conductor and
composer Howard Arman has
presented us with a
completed version of
Mozartâ??s Requiem.
â??Another one?â? you
might ask, since this
publication is only the
latest in a long line
reaching back to the
traditional Sü�mayr
version. Yet such is the
enormous power of
Mozartâ??s score that
the challenge and appeal
of completing it remain
undiminished. After two
decades of intensive
study, Howard Armanâ??s
additions to Mozartâ??s
great original show the
requisite care and
respect while
incorporating many new
insights.
Armanâ?
?s approach is
particularly fruitful.
Always aware of the
appropriate limits to
such re-creative work, he
orients himself towards
the typical
characteristics of
Mozartâ??s brilliant
composing style: The
masterly compositional
technique, the search for
innovative solutions to
every problem, and even
the terse treatment of
the text with extremely
suggestive harmonies. All
of this leads to a number
of new listening
experiences. In the Tuba
mirum, for example, we
enjoy a warm, cohesive
ensemble sound, supported
by the bassoons, which
depart from the bass
line. The Confutatis
presents a quite
different picture: Even
the basset horns are
drawn down into the
infernal depths. This
effect is reinforced by
the independence of the
trombones; rather than
simply following the
choral parts, the
instrumentâ??s unique
sound is given an
opportunity to shine.
Armanâ??s Lacrimosa
achieves a lively
Mozartian feel by
granting the voices
considerable freedom
rather than following a
rigid pattern. And he
concludes the movement
with a fugal Amen,
whereby the focus is not
so much on the
counterpoint itself, but
rather â?? in the spirit
of Mozart â?? on
creating a sense of drama
and illuminating the
theme in all its possible
facets. Mozartâ??s
fragment ends with the
Hostias, and so does
Armanâ??s completion.
For the four
following movements
(Sanctus to Communio) we
have nothing from Mozart,
and so here, where the
master is silent, Arman
finally returns to
Sü�mayr, the man who
was closest to Mozart at
the time of his death and
whose efforts to fill the
blank manuscripts still
garner our respect
today.
Armanâ??s
version has already
proven its practical
value. The premiere with
the Bavarian Radio Choir
was enthusiastically
received by audiences and
press alike â?? and
celebrated as offering a
scholarly, entirely fresh
perspective on
Mozartâ??s
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press.
(Soli SATB, Coro SATB, 2 Corni di bassetto, 2 Fg, 2 Tr, 3 Trb, Timp, 2 Vl, Va, B...(+)
(Soli SATB, Coro SATB, 2
Corni di bassetto, 2 Fg,
2 Tr, 3 Trb, Timp, 2 Vl,
Va, Bc)
SKU:
CA.5165209
Completed and edited
by Howard Arman.
Composed by Wolfgang
Amadeus Mozart. Edited by
Howard Arman. Arranged by
Howard Arman. Set of
Orchestra Parts. KV 626.
Duration 50 minutes.
Carus Verlag #5165209.
Published by Carus Verlag
(CA.5165209).
ISBN
9790007313838. Key: D
minor. Latin.
The
English conductor and
composer Howard Arman has
presented us with a
completed version of
Mozartââ¬â¢s
Requiem.
ââ¬ÅAnother
one?ââ¬Â you
might ask, since this
publication is only the
latest in a long line
reaching back to the
traditional
Süßmayr
version. Yet such is the
enormous power of
Mozartââ¬â¢s
score that the challenge
and appeal of completing
it remain undiminished.
After two decades of
intensive study, Howard
Armanââ¬â¢s
additions to
Mozartââ¬â¢s
great original show the
requisite care and
respect while
incorporating many new
insights.
ArmanÃ
â¬â¢s approach
is particularly fruitful.
Always aware of the
appropriate limits to
such re-creative work, he
orients himself towards
the typical
characteristics of
Mozartââ¬â¢s
brilliant composing
style: The masterly
compositional technique,
the search for innovative
solutions to every
problem, and even the
terse treatment of the
text with extremely
suggestive harmonies. All
of this leads to a number
of new listening
experiences. In the Tuba
mirum, for example, we
enjoy a warm, cohesive
ensemble sound, supported
by the bassoons, which
depart from the bass
line. The Confutatis
presents a quite
different picture: Even
the basset horns are
drawn down into the
infernal depths. This
effect is reinforced by
the independence of the
trombones; rather than
simply following the
choral parts, the
instrumentââ¬â
s unique sound is given
an opportunity to shine.
Armanââ¬â¢s
Lacrimosa achieves a
lively Mozartian feel by
granting the voices
considerable freedom
rather than following a
rigid pattern. And he
concludes the movement
with a fugal Amen,
whereby the focus is not
so much on the
counterpoint itself, but
rather ââ¬â
in the spirit of Mozart
ââ¬â on
creating a sense of drama
and illuminating the
theme in all its possible
facets.
Mozartââ¬â¢s
fragment ends with the
Hostias, and so does
Armanââ¬â¢s
completion.
For
the four following
movements (Sanctus to
Communio) we have nothing
from Mozart, and so here,
where the master is
silent, Arman finally
returns to
Süßmayr,
the man who was closest
to Mozart at the time of
his death and whose
efforts to fill the blank
manuscripts still garner
our respect
today.
Armanââ
¬â¢s version has
already proven its
practical value. The
premiere with the
Bavarian Radio Choir was
enthusiastically received
by audiences and press
alike ââ¬â
and celebrated as
offering a scholarly,
entirely fresh
perspective on
Mozartââ¬â¢s
masterpiece.
-
World premiere by the
Bavarian Radio Choir -
Enthusiastically received
by audience and
press.
Schopfungsmesse.
Composed by Franz Joseph
Haydn. Edited by Armin
Kircher. Arranged by
Luigi Gatti. Sacred music
from Salzburg. Viola 2.
Sacred vocal music,
Masses, Latin. Single
Part, Viola 2. 12 pages.
Duration 35 minutes.
Carus Verlag #CV
27.053/14. Published by
Carus Verlag
(CA.2705314).
ISBN
9790007199593. Key: A
major. Language:
Latin.
Since the
days of Renaissance
composers - beyond
accusations of plagiarism
- the admiration for a
fellow composer has taken
the form of quotations
from his works or even
new versions of his
works. No less a work
from the classical period
than Joseph Haydn's
oratorio The Creation
(first performed in
1798), was the basis for
the Schopfungsmesse
(Creation Mass) by the
Salzburg Court and
Cathedral Music Director,
Luigi Gatti. Gatti heard
the oratorio in Salzburg
performances conducted by
Johann Michael Haydn in
1800. With great skill
and sensitivity Gatti was
able to underlay the
choruses and arias of The
Creation with the text of
the Mass (at times he
reduced and adapted the
instrumentation), without
doing harm to the admired
original. Score and part
available separately -
see item CA.2705300.
Schopfungsmesse.
Composed by Franz Joseph
Haydn. Edited by Armin
Kircher. Arranged by
Luigi Gatti. Sacred music
from Salzburg. Organ.
Sacred vocal music,
Masses, Latin. Single
Part, Organ. 24 pages.
Duration 35 minutes.
Carus Verlag #CV
27.053/49. Published by
Carus Verlag
(CA.2705349).
ISBN
9790007199616. Key: A
major. Language:
Latin.
Since the
days of Renaissance
composers - beyond
accusations of plagiarism
- the admiration for a
fellow composer has taken
the form of quotations
from his works or even
new versions of his
works. No less a work
from the classical period
than Joseph Haydn's
oratorio The Creation
(first performed in
1798), was the basis for
the Schopfungsmesse
(Creation Mass) by the
Salzburg Court and
Cathedral Music Director,
Luigi Gatti. Gatti heard
the oratorio in Salzburg
performances conducted by
Johann Michael Haydn in
1800. With great skill
and sensitivity Gatti was
able to underlay the
choruses and arias of The
Creation with the text of
the Mass (at times he
reduced and adapted the
instrumentation), without
doing harm to the admired
original. Score and part
available separately -
see item CA.2705300.
Schopfungsmesse.
Composed by Franz Joseph
Haydn. Edited by Armin
Kircher. Arranged by
Luigi Gatti. Sacred music
from Salzburg. Viola.
Sacred vocal music,
Masses, Latin. Single
Part, Viola. 16 pages.
Duration 35 minutes.
Carus Verlag #CV
27.053/13. Published by
Carus Verlag
(CA.2705313).
ISBN
9790007199586. Key: A
major. Language:
Latin.
Since the
days of Renaissance
composers - beyond
accusations of plagiarism
- the admiration for a
fellow composer has taken
the form of quotations
from his works or even
new versions of his
works. No less a work
from the classical period
than Joseph Haydn's
oratorio The Creation
(first performed in
1798), was the basis for
the Schopfungsmesse
(Creation Mass) by the
Salzburg Court and
Cathedral Music Director,
Luigi Gatti. Gatti heard
the oratorio in Salzburg
performances conducted by
Johann Michael Haydn in
1800. With great skill
and sensitivity Gatti was
able to underlay the
choruses and arias of The
Creation with the text of
the Mass (at times he
reduced and adapted the
instrumentation), without
doing harm to the admired
original. Score and part
available separately -
see item CA.2705300.
Schopfungsmesse.
Composed by Franz Joseph
Haydn. Edited by Armin
Kircher. Arranged by
Luigi Gatti. Sacred music
from Salzburg.
Violoncello/double bass.
Sacred vocal music,
Masses, Latin. Single
Part, Cello/Double Bass.
16 pages. Duration 35
minutes. Carus Verlag #CV
27.053/15. Published by
Carus Verlag
(CA.2705315).
ISBN
9790007199609. Key: A
major. Language:
Latin.
Since the
days of Renaissance
composers - beyond
accusations of plagiarism
- the admiration for a
fellow composer has taken
the form of quotations
from his works or even
new versions of his
works. No less a work
from the classical period
than Joseph Haydn's
oratorio The Creation
(first performed in
1798), was the basis for
the Schopfungsmesse
(Creation Mass) by the
Salzburg Court and
Cathedral Music Director,
Luigi Gatti. Gatti heard
the oratorio in Salzburg
performances conducted by
Johann Michael Haydn in
1800. With great skill
and sensitivity Gatti was
able to underlay the
choruses and arias of The
Creation with the text of
the Mass (at times he
reduced and adapted the
instrumentation), without
doing harm to the admired
original. Score and part
available separately -
see item CA.2705300.
Composed
by Heinrich von
Herzogenberg. Edited by
Bernd Wiechert. This
edition: Paperbound.
Awards / Prizes:
Deutscher
Musikeditionspreis Best
Edition. Awards / Prizes:
Deutscher
Musikeditionspreis Best
Edition. German title:
Messe In E. Streicher
Leihweise 20. Sacred
vocal music, Masses,
Latin. Full score. Op.
87. Duration 60 minutes.
Carus Verlag #CV
27.020/00. Published by
Carus Verlag
(CA.2702000).
ISBN
9790007088958. Key: E
minor. Language:
Latin.
The
musically convincing and,
in many respects,
original setting of the
liturgical text in
Herzogenberg's Mass
represents a final
culmination in the late
romantic repertoire of
the genre Missa solemnis.
The full score, which is
published here for the
first time, makes this
most inspiring work by
Herzogenberg accessible
for performance.
Cantata for the 3rd
Sunday of Christmas (1st
version). Composed by
Johann Sebastian Bach.
Edited by Klaus Hofmann.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
SUssER TROST, MEIN JESUS
KOMMT NEUAUSGABE. Sacred
vocal music, Cantatas,
Christmas. Single Part,
Violin 1. Composed 1725.
BWV 151. 4 pages.
Duration 19 minutes.
Carus Verlag #CV
31.151/11. Published by
Carus Verlag
(CA.3115111).
ISBN
9790007049386. Key: G
major. Language:
German/English. Text:
Lehms, Georg Christian.
Text: Georg Christian
Lehms.
Bach's
cantata BWV 151, whose
wonderfully heartfelt
opening aria has been
rightly numbered among
Bach's most inspired
ideas (Alfred Durr), was
composed for the 3rd day
of Christmas 1725. Flute
and oboe d'amore lend
pastoral coloring to the
chamber music sound
picture. The oboe d'amore
was not originally
included in Bach's score;
after completing the
score he added the part
to the orchestra for the
first performance. In a
later performance about
1728-1731 Bach replaced
the flute by a solo
violin, adding various
performing instructions
and ornaments, of which a
flautist can make use in
his originally rather
modest part. This new
edition by Klaus Hofmann
replaces the 1962
publication by Diethard
Hellmann. Score and part
available separately -
see item CA.3115100.